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A Chung Tai Shan Visit

As part of the Collections People Stories our Anthropology team have been hosting various expert groups on visits to the Museum and our stored collections to help us learn more about the objects and share them with their source communities. Assistant Curator Tom has updated us on the latest.

Back in August we were honoured to host a visit from a group of monks and nuns, adherents of Taiwan’s Chung Tai Shan Monastery.

It was a very busy day at the museum and the group attracted quite a lot of attention in their elegant brown robes. At the reception, where we arranged to meet the group, things were particularly hectic, but the maelstrom of shouting children and harassed parents didn’t seem to faze our visitors. Instead they appeared to be pleased by their surroundings, responding to gawping faces with polite nods and benevolent smiles. One nun said to me - just audible over the din - “Here is a paradise for children”.

Our visitors, as well as being practicing monks and nuns held positions in the administration of Taiwan’s enormous Chung Tai Shan Monastery - home to over 1,500 resident devotees - or were involved in the running of the monastery’s daughter establishments, which are located at sites all over the world. Chung Tai Shan Monastery has a museum attached to it with an impressive collection of Buddhist objects and our visitors included the museum’s director, a curator, an exhibition designer and a conservator.

Faced with such an impressive array of expertise we did our best to show the group a representative selection of the different types of work undertaken by the Horniman. Their tour took in the curatorial, conservation and learning departments.

In Conservation, they were able to take a close look at a collection of Tibetan figures recently treated by the department.

While the team working on our upcoming exhibition, Romania Revisited, were able to give some insight into how the displays were developed behind the scenes.

We also took the visitors up to the Animal Walk to admire the baby alpaca. It was an inspired idea, the alpacas were a hit and the group even came up with a strong contender for the newborn’s name: Chuan Yang (ε‚³ηΎŠ) a title which combines Chinese for ‘sheep’ with the potential for eventual reincarnation as a Buddha.

Find out more about how the Horniman's Anthropology team are working to better understand our collections and share them with other groups on the Collections People Stories project pages.

Busy with Busy Bees

Busy Bees, our lively sessions for under-5s, are returning next week and it's important time for the Horniman's Learning team. Aaron, one of the Horniman's Learning Assistants, reflects on what everyone has gained from this regular event over the years.

Being a Learning Assistant for the Horniman Learning team is necessarily a hectic and unruly role, supporting across schools, community learning and volunteering sections. Change is as good as a rest they say but in our ever-developing department the familiar becomes endearing and is one of the reasons that our long-running Busy Bees sessions are a highlight in my otherwise hectic week.

We work with a wonderful team of storytellers, who are also authors, musicians and performers, and they have gathered a dedicated regular following and continue to surprise first timers. It has been a real pleasure to get to know some of our parents and watch their children grow up attending Busy Bees sessions over the years.

Everyone who comes has a great time whether they are under 5 or much much older, here is what they have told us recently:

Fantastic session for mixed age children – baby and toddler – feel so welcome, comfortable and entertained (and educated!) Thank – you.

Such an awesome resource! My eldest loves it – the songs and participation are just excellent

We love the busy bees sessions. I have been bringing my son since he was 8months old – he .... still gets joy from busy bees along with his 4year old sister. Great interactive sessions.

The girls and I always love busy bees, it’s always really engaging and fun for the girls... They  thoroughly enjoy the session as they re-enact  parts of the story they’ve heard afterwards. Thanks!

One of the strengths of this programme is how flexible it is but, as with all regular activities, it can be subject to changes so do please check the website for timings. Also, although we do not encourage early queuing with early years children, if you want to attend the first session you will still need to arrive fairly promptly to get a ticket.

The new season of Busy Bees gets underway on Tuesday 16 September with 3 sessions held every Tuesday and Wednesday (with some exceptions). Check the event page for more details.

Share your #HornimanMemories

This month at the Horniman we're looking for our visitors to send us their favourite memories of the museum and gardens, to create a collection of #HornimanMemories.

Whether it's the first time you laid eyes on the Horniman Walrus, discovering the view of the London skyline from our Bandstand, or getting your hands on real museum objects in our Hands on Base, we want you to share all your favourite Horniman moments.

To add your memories to the project visit Twitter or Instagram and share using the #HornimanMemories hashtag. You could share a story, a feeling, or even a photo from a previous visit. We'll be using the hashtag to find all the memories shared and collect them together using Storify.

At the end of the month, we'll be selecting our three favourites and offering their owners a year's free Horniman Membership, including free access to the Aquarium and special exhibitions, as well as plenty of other perks, so you can continue to create even more memories here at the Horniman.

We'll also be sharing some of our own #HornimanMemories throughout the project, using pictures from the museum archives to reveal moments from the museum's past. Look out for these on our Twitter account.

Modelling the Natural History Gallery

Things are moving along in our Natural History Gallery, which has been closed this week as we make way for the new displays coming in 2015. As we saw in our last post, most of the objects from the entrance to the gallery have been taken off display, and this week, some of the older, empty showcases have been removed.

Visitors to the Gallery in the near future will find they have a much clearer view of the Horniman Walrus than they are used to.

But much of the preparation that goes on to prepare for the new display happens behind the scenes, and our Exhibitions and Natural History teams have been hard at work making plans.

This begins with sketches, which our graphic designer turns into more detailed computer models using the high-quality photographs from our object database.

But 2D can only get you so far; sometimes the only way to see what will fit where is to create your own 3D model.

There are still many decisions to make about which specimens are best suited to telling the story of this new display, and where they can be displayed.

Fans of our Edward Hart bird cases will be pleased to know that many of them will be returning to display, with some new examples from the stores joining them.

The detailed measurements our Documentation team record for each object means they can be recreated exactly to scale in a 2D or 3D mock-up, so that we are able to tell exactly where they will or won't fit.

And can you guess which this plasticine model is representing?

The Natural History Gallery is re-opening this weekend, so you can see the recent changes for yourself. The next closure will happen in January, as we prepare the showcases for the specimens coming in.

Afghanistan and Empire in the Horniman Stores

Tom, Assistant Curator of Anthropology, reports on a research visit to the stores and a special behind the scenes event he has planned.

Earlier this summer three experts on Afghanistan visited our stores: Zia Shahreyar is an Afghan journalist who works for the BCC, Bijan Omrani is an author and a historian of Afghanistan and Constance Wyndham works with the National Museum of Afghanistan.

Together they are creating a special event for the Horniman called Afghanistan and Empire. The event will be held on the evening of the 9 of October: the plan is to offer audience members a chance to examine our fascinating and sometimes moving objects from Afghanistan, followed by a session where Bijan and Zia will use the objects to tell the story of conflict in Afghanistan from the early nineteenth century up to the present day.

At the stores I showed my visitors a selection of objects which I thought might interest them. Top of my list was a carefully decorated Afghan jezail, a sort of musket feared by the soldiers of the British Indian army for its accuracy at long range.

On the butt of the jezail was pasted a handwritten note explaining that it was a trophy of the storming of Peiwar Kotal fort, a skirmish between British troops and Afghan tribesmen that took place in 1878.

I was also keen for the visitors to see a very early example of tourist art from the Kalasha people, whose territory sat at the very edge of the British India. The Kalasha and their compatriots in Afghanistan followed a pre-Islamic faith which fascinated the British, inspiring Rudyard Kipling to write his famous, The Man Who Would be King.

Discussions with my visitors led to fresh ideas and we found new objects to be included in the event. For example to provide a suggestion of the richness of Afghanistan’s heritage we chose some of the Horniman’s beautiful Gandharan carvings. The Gandharan culture existed in a region that borders present day Pakistan and Afghanistan. For several centuries it produced beautiful Buddhist artefacts and architecture inspired by the classical Greek cannon.

It is always a great pleasure to examine artefacts with experts and it is inspiring to see how a single object can encapsulate so many different narratives and ideas. Afghanistan and Empire will provide an opportunity to share this experience with a wider audience.

Afghanistan and Empire is a special Behind the Scenes event at the Horniman on Thursday 9 October. Book your tickets (£5) online now.

The Case of the Missing Polar Bear

A large taxidermy polar bear stands proudly in our family-friendly Extremes exhibition at the moment.

Its arrival here caused quite a flurry, but it wasn't the first time a polar bear had been on display at the Horniman.

In the early 1890s, Frederick Horniman bought a polar bear from a man called James Henry Hubbard. The polar bear was first displayed in the Canadian Section of the 1886 Colonial and Indian Exhibition in London, along with many other Canadian animals including our famous walrus.

The polar bear is first mentioned in local newspaper articles as 'a polar bear realistically attacking a seal'.

It was one of the big stars of the Museum for over 60 years and was very popular with museum visitors. Over the years, the polar bear and other animals were moved several times. It was stated that it took five men to move each one.

However, in the late 1940s, the polar bear was sold.

There were many reasons for this: the fur of the polar bear may have become dirty and the mount itself may no longer have been in good condition; staff in the museum began to research new themes for display based on the latest scientific ideas and developments and there would have been very little space to store large animals at that time. Also, by the 1940s tastes and attitudes towards taxidermy had changed significantly and it became increasingly unfashionable to display large animals in museums.

The polar bear was sold on 17 September 1948, to a Mr T Allen, a local ‘scrap’ merchant. The polar bear's fate is a mystery.

At one time, there were rumours that the polar bear had been bought and put on display in Selfridges, but this has never been confirmed.

In 2006, we set upon a search to find out if the polar bear still exists somewhere out in the wider world, but were not able to find anything concrete. We learned that it had been sold on by Mr Allen in the 1950s to a photographic studio in Southend-on-Sea, but unfortunately have not found any evidence of what happened to it after that.

Do you live in Southend-on-Sea or have visited in the past and remember having your photograph taken with a polar bear? We'd love to hear from you.

Horniman Inspiration: Kate Mosse and The Taxidermist's Daughter

On Thursday 11 September best-selling author Kate Mosse joins us at the Horniman to celebrate the launch of her latest novel, The Taxidermist's Daughter. Ahead of this special event, she talks about some of the inspiration she gained at February's Taxidermy Late.

There's a moment in writing any novel when, suddenly, the book clicks into place. All the thinking and planning, the inspiration, the plotting, none of it matters until the story sparks into life. Anything can make it happen – reading a good piece of research, visiting the location about which you're writing, looking at photographs. For me, it was visiting the Horniman...

Picture the scene, a cold and dark night in February 2014. The event? 'Taxidermy Late', an evening dedicated to taxidermy in all of its glory, centred around the fabulous collection at the Museum. I'd been a regular visitor in the 1990s, when I lived in London and our children were little, but hadn't been back for some time.

It was, simply, a magical evening. For three hours I wandered around, on my own, spellbound. I watched taxidermist Jazmine Miles-Long, I listened to Pat Morris talk about the history of taxidermy and Errol Fuller dazzle the packed downstairs lecture room, I joined the queue to have my photograph taken with a piece of taxidermy from the collection (a duck, as it happens) and stood tapping my foot to the music of the most exciting new band I'd heard for ages, Gabby Young & Other Animals. Their album became the music I listened to before sitting down at my desk each day to write the novel.

That winter's night, the Museum was alive with fun and light, with music and conversation, with women and men of all ages (and two life-sized, breathing, walking, talking kittens, as if they had stepped straight out of one of Walter Potter's tableaux).It was a true celebration of the history, of the craft, of the skill, of the beauty of taxidermy.

Most of all, though, what mattered was that the atmosphere and the passion was the final spark I needed for my novel. Because I was there on that damp February night, my lead character, Connie Gifford, became herself and the story took shape; I knew what I wanted to do and how the novel had to be written. A Gothic novel – set as the flood waters are rising in Sussex in 1912 – inspired by Walter Potter's Victorian Museum of Curious Taxidermy and brought to life by the Horniman Museum more than a hundred years later...

So, where better than the Horniman to launch The Taxidermist's Daughter. I hope to see you all there, in costume or not, for another evening of celebration.

Kate Mosse Talks Taxidermy is on at the Horniman at 6.30pm on Thursday 11 September. Buy your tickets online now (over 18s only).

A Horniman Wedding at the Horniman

Frederick Horniman’s great, great, great granddaughter, is keeping it in the family as she prepares for her wedding in our Conservatory this weekend. Hilary blogs for us looking back on her family history and why she decided to hold her wedding in her ancestor's museum.

I met my future husband Chris through a mutual friend, nearly five years ago in London. We currently live together in Wapping and are getting married in the Horniman’s Conservatory on Saturday 23 August 2014.

I grew up in London and visited the Horniman many times as a child, both with my grandparents, Hugh and Jessica Wyatt (nee Horniman), and on school trips, where I would proudly tell the rest of the class it was "my great grandpa's museum". Not strictly true, and probably very irritating!

I hadn't been to the Horniman for many years, when on a date with Chris we found ourselves at a loose end at Victoria train station. Chris suggested we get on the next train and go on an adventure - the next train happened to go to Forest Hill. So at about 8pm we found ourselves at the Horniman peering through the railings at "my great grandpa's museum". We've been back many times since, taking friends and their children to see the walrus and other curiosities, and attending events including the opening of the new Gardens. 

I will be wearing a dress of my grandmother’s on my wedding day and a necklace that belonged to my great grandmother Lucille Horniman, which was given to me by my grandmother on my 18th birthday.

It will be bittersweet to get married in one of her favourite places without her there, but I know she would have approved because she wasn't very subtle and I remember her hinting that the Museum would be a wonderful place for a wedding, before Chris had proposed! Michael Horniman, my great uncle, will be attending and I know he's pleased too.

For me the museum represents the sense of adventure and love of travel that my adored grandparents instilled in me. I feel incredibly proud to be getting married there.

Update:

Here's a picture of Hilary and Chris on their wedding day with Hilary's great uncle, Michael Horniman.

(Photo by Ben Joseph)

You can find our more about weddings and civil ceremonies at the Horniman on our Venue Hire pages.

Five Go Collecting: Traditional Healers in Palawan

Dalia is one of the five modern-day collectors selected by the Royal Anthropological Institute to take part in the Horniman Collecting Initiative. Here she reports on her fieldwork with the traditonal Palawan healers of the Philippines.

In many areas of the Philippines, traditional medical practitioners continue to be the main providers of health care. In the course of my fieldwork, the most common practitioner that I came across in the Palawan ethnic group were 'balyan', who rely on visualisations and invocation of spirits during healing practices.

Balyan use a variety of objects in their every-day practices and many were keen that some of these objects be donated and displayed at the Horniman Museum and Gardens in order to help maintain their cultural practices which they feel are under threat.

In order to select the most appropriate objects for the museum, I trained various healers to use digital cameras in order to visually document their practices and the objects that they use.

Following an initial training session, participants were given cameras for a period of 1-3 weeks and at the end I collected the cameras and printed the participant’s pictures.

The pictures were then used as the basis of qualitative interviews and allowed healers to decide what objects best reflect and convey their work.

In one case, Sario Langi, a balyan, used his camera to take pictures over 3 weeks whilst treating a variety of patients. One evening, a man came to him feeling very weak. Sario felt his pulse whilst calling upon the spirits to assist him in his diagnosis (turon). He also used a 'tari-tari'.

Tari-Tari is a diagnostic tool, a bamboo stick with honeybee wax at one end from which a piece of 'rocoroco' (Ocimum sanctum or Holy basil) is attached. Sario’s tari-tari was made by his father (also a balyan) and he inherited it from him after his death. The tari-tari is the same length as the span of Sario’s hand, but it will become longer or shorter to respectively confirm or refute the questions that Sario asks it.

In this way, Sario was able to diagnose that the man was suffering from 'pintas' (curse or evil words), probably spoken by a scorned lover. The tari-tari is crucial to Sario’s work, so he kindly made one to donate to the Horniman.

As a treatment, Sario gave him a 'pananga' which is an example of a repellent (panulak). This small cloth pouch, sewn by Sario’s wife Pina, contained 7 specific herbal plants and roots which, if tied by a string round the waist, reverse the curse and help defend the patient against further attacks. 

Sario inherited the knowledge of which 7 plants to use from his ancestors who appear to him through prayer. Sario collects these plants from the surrounding forest and stores them in a woven basket made by his father. Sario kindly donated this basket to the Horniman along with some pananga.

As well as illnesses caused by human agents, Sario can diagnose those caused by malevolent spirits. Using his camera, he documented his treatment of these illnesses.

He enters a sleeping state (natutulog) so that his own soul leaves his body and is replaced with a spirit with whom he can communicate. He adorns a headband that has sprigs of rocoroco (Ocimum sanctum or Holy basil) tucked into it, closes his eyes and start to use 'tawar' (incantations) to invite the spirit in. Sario feels himself becoming dizzy at this point is unable to ‘see’ what is happening in the human world.

He then picks specific sprigs of rocoroco which he waves in a circular motion over the patient along with 'silad' (pom poms) made from Mangrove Fan Palm (Licuala spinosa) accompanied by incantations (tawar) to call good spirits to his aid. Sario’s daughter took pictures of him using the silad which have now also been donated to the museum.

Five Go Collecting: Coin Garlands of the Marma Community

Farhana is one of five modern-day collectors selected by the Royal Anthropological Institute to research and acquire new objects for our collections. Here she reveals what she has learnt about an intriguing family heirloom in a Bangladesh community.

When I first came to Bangladesh's Chittagong Hill Tracts in January 2013, I interviewed two women from the area's Marma community in the town of Bandarban. We discussed coin garlands, which are family heirlooms which act as a link to their Burmese heritage. The women were originally from Ruma, which is close to the border with Myanmar (Burma).

Since then, I have looked into the custom of coin garland making. The men of the family would collect the coins and when they had a sufficient number, they would make a garland. The garland would be given to the eldest daughter as dowry to take with her into marriage.

Women used to wear the garlands all day, while working and sleeping, carrying their ‘personal value’ with them mainly because there was no way of keeping valuables safe in their remote bamboo homes. Today, the garlands are worn on special occasions or at Marma cultural events. 

The garlands are typically made up of Indian Rupee coins, sometimes threaded on string or on a small chain. Sometimes there are plastic beads between the coins or white metal beads made from melted-down coins. I am told the garland designs are Burmese in origin but that the makers had to rely on local Bengali smelting techniques and craftsmanship as well as local materials such as plastic beads and chains.

When I visited the Tribal Cultural Institute in Bandarban, I found garlands made from Indian Rupee coins with the heads of Queen Victoria, Edward VII and George V and East Pakistan Taka coins depicting George VI. Equally interesting is the fact that all the local tribes wear and value similar garlands.

Whilst the Marma call the garland 'Puaitha Loing Hrui', other tribes have different names. The Chak call it 'Tang Grik'; the Mro, 'Keng Leng' and the Lusai 'Cheng Thui'.

The coin garlands reflect the chequered history of the region. At different points in time, the people of the Chittagong hills have been incorporated into an ever-changing larger state, becoming minorities first in India, then in British India, then in Greater East Pakistan and finally in Bangladesh.

The British Empire played a prominent role here: the region was annexed as far back as 1860, becoming a British protectorate to keep the tribes safe against raids by a collection of guerrilla tribes.

Since the 1970s, this area has experienced huge upheaval, guerrilla warfare, and a Government-encouraged Bengali immigration. The latter was in response to the growing impoverishment of the Bengali population due to famine, disappearing delta land and a need to move to higher and fertile ground. The migration of Bengali people into the Hill Tracts was also seen as a way of integrating the Hill Peoples into Bangladeshi culture.

Therefore this area has many competing identities, with tribal people living alongside Bengalis and a fluid border. Objects such as these coin garlands reflect these multiple and dynamic influences.

Collecting a Coin Garland for the Horniman Museum

Returning to Bangladesh this year, I put out the word that I was interested in collecting a Marma coin garland for the museum because the object reflects not only the history of the area but carries cultural meaning for this community that has migrated to this area from Burma in the 1600s.

Many coin garlands vanished during the insurgency period in the CHT (1971-1997) or had already been sold to collectors. After months of gentle reminders, I received news that a family in Ruma wanted to sell their coin garland. Leaving our motorbikes behind, we walked the narrow trails along jum (slash and burn) cultivated slopes and mountain ridges to Ruma. However when we arrived, the family had changed their mind about the garland so we set off to another village to find another.

When I began chatting with the children in this village in a mixture of Bengali and Marma, the elders came out to see us and the owner of the coin garland invited me into his house. He was not willing to sell his garland but allowed me to see it, and I was able to ask him questions about the significance of it to him and his family. I explained how long I had been walking and was so far away from anything I recognised yet nonetheless here on his table, were coins with my British king on them! They laughed with me. Why, I asked, did they collect coins with another king’s head on? They were after all subject to their own king – the Bohmong Raja - but here they were wearing the coins of another king from very far away. He pointed out that these British kings were the ‘kings of everywhere’ and that the coins held great power and value as a result. My meeting with this owner drew a crowd from the village and everyone listened to the stories recounted.

After two more visits to Ruma, I was told of a lady who wanted to sell her coin garland. She grew up with her grandparents because her mother had died when she was 5 years old. Her grandparents gave her the garland when she was 15 years old. As her husband died in 1999 and she has no children, she had no one to pass the garland on to. The thread is original; there are 12 Pakistani coins, 11 taka coins and 27 connecting beads – silver coins melted down. Some of the coins are missing, possibly 3 in total.

When I met this lady for the first time, she uncovered different parts of the necklace slowly. They were hidden in different places in somebody else’s house. The necklace was not fully strung: there were loose coins and a broken string. We laid out the necklace so that we could take a photograph of her with her heirloom and she indicated how the necklace should look.

Back in the UK, the necklace was fixed before being handed over to the Horniman.

I wore it so that I could feel its weight and imagine what it must have felt like to wear such a heavy ornament all day. Worn by three generations of women, far away in the exotic remote hill tracts on the border between South Asia and South East Asia, this ornament is not only rich in history and meaning, but is also quietly exquisite.

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